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Commercial Break: British Advertising on Screen

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Commercial Break: British Advertising on Screen L to R Anna Karina in Coca-Cola: Hey Coke – Masquerade Ball (1958), Egg Marketing Board: Tony Hancock Crossword (1966), Heinz Baked Beans, Common Market (1972) Commercial Break: British Advertising on Screen **NOW AVAILABLE FOR FREE ON BFI PLAYER** https://player.bfi.org.uk/free/collection/commercial-break-british-advertising-on-screen facebook.com/BritishFilmInstitute | twitter.com/bfi UNDER EMBARGO For release: 1 July 2019, London The BFI National Archive is home to one of the world’s largest screen advertising collections with over 100,000 cinema and television adverts ranging from the iconic and most recognisable brands including Guinness, Cadbury’s, Shell, Heinz, Persil, Hovis, Kelloggs and Coca-Cola to the obscure (Andrews Liver Salts or CDF Dogfood anyone?) Working with regional and national archive partners across the UK, the BFI has digitised 300 archive adverts all available for free on BFI Player. With the earliest advert on film dating from 1898 (Vinolia Soap) to the late 1980s, Commercial Break: British Advertising on Screen traces the history, overarching themes and development of the art of British screen advertising from its earliest days, finding maturity with the rise of the cinema in the 1930s and going on to transform the commercial television viewing experience with the launch of ITV in 1955 and subsequent growth of television. Providing snapshots of what we ate, how we travelled and the lives we all aspired to, this collection includes classic campaigns from the golden age of advertising in the 1970s and 1980s from the likes of Collett Dickenson Pearce (CDP) and J. Walter Thompson, featuring early work by Sir Ridley Scott The Boy on the Bike (1973), Hugh Hudson (Fiat Strada: Figaro, 1979) and Tony Scott (SAAB: New Delivery, 1985) which helped launch their Hollywood careers. The collection also showcases unexpected delights from established directors including Nicolas Roeg Guinness: Hop Farm (1974), Lindsay Anderson Black Magic: Taxi (1964), Joseph Losey Silvikrin Shampoo (1964) and theatre legend Joan Littlewood Egg Marketing Board: Sheila – series (1964), long after they ‘made it’ . Famous faces onscreen include Tony Hancock, Peter Cook and Dudley Moore, Sheila Sim, John Cleese, Ronnie Barker, Beryl Reid, Sammy Davis Jr, Googie Withers, Geoff Hurst, George Best and Margaret Lockwood as well as ‘before they were famous’ appearances by Anna Karina, Michael Caine and Terry Thomas. The female consumer has long been a target of screen advertising, selling everything from baked beans and washing powders to labour-saving devices to help lighten the domestic load. Interestingly, in a male dominated advertising industry, this collections tells (and sells) a more positive story of social progress for women, with increasing social and economic independence, tracking the ups and downs of female empowerment in the 20th century, with its false steps as revealing as its forward ones. BFI National Archive Curator Steve Foxon says, “There's an art to selling, as any ad man or woman will tell you. Britain's screen advertising has been a central part of the British film story since its earliest days, It found its feet in the cinema, transformed television and its ripples have even influenced Hollywood” Adding, “A perfect blend of nostalgia, salesmanship and craftsmanship, screen advertising at its best is incredibly potent, affecting our emotions as well as holding a mirror up to reflect society’s changing aspirations, values, fears and desires. Few films can capture all this in such a compact and expressive format.” Commercial Break: British Advertising on Screen highlights the evolution of the UK’s extraordinarily dynamic industry across the twentieth century, showcasing the astonishing variety of approaches, strategies and tricks advertisers have used over the decades for us to part us with our money, entertaining us even as they subtly manipulate us with promises of a new, tastier, brighter, cleaner, healthier and better lifestyle. In addition to the BFI Player collection, the BFI National Archive has lovingly remastered 24 iconic film adverts made by some of the most illustrious names in British cinema. Described by BFI Head Curator Robin Baker as “mini masterpieces of big nostalgic emotion” these fondly remembered titles have been restored in 4K and will be made available to view at BFI Mediatheque from July, as part of a tie-in advertising collection, to view in venue at BFI Southbank. EARLY PIONEERS OF SCREEN ADVERTISING Even before there were cinemas, screen advertising was a key part of the film going experience. With these earliest steps into screen advertising companies exploited the medium of moving pictures and learnt to mimic nascent film form in comedy, drama, documentary and even animation to feature their products centre-stage. Notable examples include: Rudge-Whitworth: Britain’s Best Bicycle (1901) A prototypical 30 second ad format and simple, effective message, sell us “Britain’s Best Bicycle” Dewar’s: The Spirit of his Forefathers (1900) (reissued as The Whiskey of His Ancestors in 1977) Decades before Harry Potter’s Hogwarts Gallery, a Laird’s ancestral portraits come to life to share a wee dram with their modern descendent. The Tale of the Amp Lion (1925). Cartoonist, illustrator and artist William Heath Robinson animates a gramophone speaker in what is believed to be his only foray into animation. Changing Hues (1922), Channelling Pretty in Pink innovative early film colour techniques bring ‘Twink’ clothes dyes to the big screen in this transformative love story. CINEMA ADVERTISING FINDS ITS VOICE The 1930s saw screen advertising find its voice at the cinema. This wasn't just down to the arrival of the 'talkies', but to the increasing professionalism of ad agencies and production companies involved. Through WWII and post-war austerity into the early 1950s, cinema advertising offered brands an opportunity to reach a captive audience. Adverts increasingly played on cinematic tropes to sell their products as big screen entertainment. Gibbs SR: The Warning (1941) Playing on film noir conventions this hugely elaborate mock-trailer for a thriller that never existed includes knife throwing, glamour, gangsters and sound dental advice. Co-operette (1938) Inspired by the bold and elegant big screen musicals of the period, dancing vegetables ‘cut a rug’ in this distinctively colourful mini-musical for the Co-op. Rinso: Little Miss Muddlehead (1943) Wartime patriotism is awash in this outlandish live-action cartoon. Miss Muddlehead is encouraged by a talking Rinso washing powder box to do her bit for the war effort to conserve fuel and defeat Hitler. THE BIRTH OF COMMERCIAL TELEVISION The launch of ITV on 22 September 1955 brought advertising to the small screen. Commercial television spread rapidly across the UK, inviting the salesperson directly into the living room of every home, and bringing with it a more intimate approach to screen advertising. This collection shows how some advertisers struggled to find the right voice and formats for the new medium, while others hit the ground running, A staple of commercial television in the early years the short-lived but extremely popular ‘Admag’ magazine format combined guest appearances and product promotion with practical household advice, ‘Admags’ were eventually banned after a report by the Pilkington Committee published in June 1962 stated that they blurred the distinction between programmes and adverts. FCB TV show No:1 (1955) and T.V. Talk – Lintas (1954). Ad agencies Foote Cone and Belding and Lintas came up example television schedules to persuade their clients what television screen advertising could look like, even going as far as making fake ads and programming. Ideal Home (1961) The only known surviving episode of classic ‘Admag’ Jim’s Inn (which ran for 300 episodes). Filmed ‘as live’ from the Olympia Ideal Home Exhibition, publican Jimmy visits the show to review some of the latest time-saving products on offer. At Home with Joy Shelton (1955) The actress brought a bit of glamour to the domestic setting of this ‘Admag’, including a tour of her own G Plan furniture range. Branston Pickle: Advertising Agency (1957) This perfectly formed campaign from the legendary Halas & Batchelor animation studio impart a concise and simple message in just 15 seconds Shell: Rough Running (1957) Larkin Studios used stylish, modernist graphics to show a car engine running roughly in this cutting edge animation for Supershell ICA petrol. FOOD GLORIOUS FOOD You are what you eat? Or at least that’s what we’ve been sold. Advertisers have long presented our food choices as much more than just a cure for hunger, but as a key lifestyle decision to keep you and your family happy, fit and healthy as well as saving you time and keeping you on the go. A smorgasbord of culinary delights, reflecting our national obsession with food, this collection charts our changing tastes and attitudes, stocking up our larders and freezers with reliable much-loved family favourites, indulgent treats and long forgotten culinary experiments. Youth Will Be Served (1933) Somewhat at odds with the public health films of today in tackling childhood obesity, Shooting Stars director Anthony Asquith’s dietary advice for Stork Margarine, promotes fat as a form of “sheer energy” in this depression era advert. Horlicks: Domestic Help (1952) A husband who is struggling to bring home the bacon is prescribed a cup of Horlicks to restore his spirits and with it a more traditional gender role (in)balance in this archetypal 1950s advert. Heinz Baked Beans: Common Market (1972) What could be more ‘British’ than a baked bean? Hopes and fears around Britain entering the European common market in 1972 manifested in many ways including this topical, opportunistic ad from Heinz Kelloggs Sugar Smacks: Space Mission Badges (1970) Fuelling children with a sugar- rush, space flight and moon landing fever made its way to the nation’s breakfast table.
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